A spirited retelling of Christmas classic

Many who enjoy the story of Ebenezer Scrooge would not feel the holiday season complete without experiencing their preferred telling of the tale.

For my family, it wouldn’t be the holiday season without seeing “The Muppet Christmas Carol” (several times), featuring Michael Caine as a more lighthearted Scrooge.

For those who enjoy live theater, there’s nothing like a stage version of the story, and for the past five years The Hanover Theatre for the Performing Arts has presented a fine adaption under its executive director, Troy Siebels.

What sets Siebels’ “Christmas Carol” adaptation apart? Well, it is a quite spirited ensemble production, successfully using adult and child members to enthusiastically tell the story of miserly Scrooge.

The energy and eagerness of the entire cast, young and old, are captivating.

There are many things to enjoy about this production. The concept is original, the staging is fluid, there is an effective use of traditional Christmas songs and hymns to help move the story along, and, above all else, it is a technical masterpiece, with creative choices in lighting, costumes and sound, all interwoven around breathtakingly beautiful “ye olde London” scenery.

And I don’t think I’ve ever seen a fly system used better on the Hanover stage.

One scene in particular, in the middle of Act 1, involving Scrooge’s dead partner, Jacob Marley (Andrew Sellon), returned from the spirit world, wrapped in chains, to confront Scrooge about his miserly ways, is an impressive technical feat, as is the master puppetry performed by Andrew Oberstein as the Ghost of Christmas Yet to Come in Act 2.

Peter S. Adams is utterly charming as one of two “charitable Gentlemen” who fail to get Scrooge to donate to the needy. Later he appears larger than life as the jovial Ghost of Christmas Present.

Tori Heinlein appears to Scrooge as the Ghost of Christmas Past and takes Scrooge (Jeremy Lawrence) on a journey to his past, where he sees his life as an ostracized little boy in school and then as a young apprentice at an accounting firm.

Steve Gagliastro, the other half of Adams’ “charitable gentlemen,” delights as Scrooge’s old boss Mr. Fezziwig, with Kim Lamoureux playing a charming Mrs. Fezziwig.

There are vibrant chorus numbers during this scene and throughout the show.

Andrew Crowe and Annie Kerins, as Bob Cratchit and Mrs. Cratchit, have a fine chemistry together and have a great rapport on stage with the young actors playing their children (Joanna Rosen as Martha, Yariana Bergier as Belinda, Connor Macchi as Peter and Elizabeth Brytowski as Tiny Tim).

Micah Greene is quite effective as Scrooge’s lost love Belle, as is Andrew Crowe as Scrooge’s charismatic nephew, Fred.

But even with all of the aforementioned elements that help contribute to this terrific show, it would not matter a whit without a strong actor to play Ebenezer Scrooge, and Siebels made the right choice in selecting Lawrence.

Any marginally good actor can play Scrooge, as has been demonstrated countless times throughout the decades.

But the trick for the more seasoned or skillful actor is making Scrooge’s ultimate transformation at the end of the show work without making it look phony or cheesy. Lawrence makes the transformation work and makes it look effortless.

Kudos go to Siebels and his production team, including set designer Jim Kronzer for his impressive and intricate London set, costume designer Gail Astrid Buckley, Charlie Morrison on lighting design, Nick Joyce on sound, and finally a fabulous combination of superior musical direction by Timothy Evans and choreography by Ilyse Robbins.